3 Types of Distinctive Characters

Just about every story has characters. They are the beating heart of any story that’s worth reading. All my favourite stories, whether they be books, films, TV shows, comics, computer games, or any other kind of story you care to mention, feature compelling characters. Characters who are not just believable people (though that is vitally important), but who are intriguing, unusual, captivating and – most importantly – unique. Their distinctive qualities makes them memorable, interesting and appealing (even if they are the most sinister villains) and they don’t slot too neatly into cliched archetypes – damsels in distress, moustache twirling villains, reluctant heroes or any other such thing.

It is, therefore, naturally quite difficult to capture the formula for creating such a character. After all, any examples I can highlight (and I’ve highlighted a couple of my favourites) would only serve to be examples of unique characters who have already been written. You, dear writer, need to think of something new! But I have tried, as best I can, to sort them into three more general categories of the kind of thing you can use to add that distinctive sparkle to your character. Here they are, in no particular order:

1- Man or Woman of Mystery

For me, there’s nothing like a character who doesn’t show you his whole hand. You know there’s more to him than meets the eye because the things he does and says are peculiar. There seems to be method to his madness but you just don’t know what it is. In the opening chapters of The Vagrant by Peter Newman (arguably my favourite fantasy novel of 2015), we are introduced to a nameless and speechless protagonist, journeying to through a hellish fantasy world with a baby, a living sword and a goat.

Who is he? Where does he come from? What does he want? Why does he want it? Who does the baby belong to? Why can’t he speak (or does he simply choose not to?)? What’s the deal with the funky sword? And where did he get that goat? So many questions!

Of course, the only danger with this approach is that you might make your story boring if the audience feels like they don’t understand anything that’s going on for too long. Fortunately, in The Vagrant Newman manages to keep that compelling spark of mystery alive by tossing us only tiny scraps of disjointed information, little by little. Just enough to keep us interested, but it is only as the story nears its end that we begin to really learn who this Vagrant is, where he comes from and why he’s doing what he’s doing. That’s the trick to making this kind of character work: a steady diet of gleanings of revelation. Each chapter should tell us something, but not everything.

This type of character is especially useful if you’re trying to create a lighthearted story, though it can be used in all kinds of fiction. Basically, you think of all the typical attributes you might expect your character to have and you reverse them. For instance, the Monkey Island saga is a series of games which follow the adventures of ‘mighty pirate’, Guybrush Threepwood: a slim, blond, mild-mannered, goofy young man who is, nevertheless, a bona fide (even legendary) pirate who sails the Caribbean vanquishing sword-masters, searching for treasure and battling hellspawned demon pirates. Of all the pirates to appear in fiction throughout the years – Jack Sparrow, Captain Hook, Long John Silver and anyone else you care to name – Guybrush Threepwood stands out as unique because he is so not your average pirate. His utter unsuitability to be a pirate is what makes him and his story so unique.

In Monkey Island, this is used to comic effect, but a skilled writer can use it to create non-humorous characters too. In Pale Rider, the otherwise unnamed protagonist is a preacher who rides into town wearing a clerical collar – but this being a western movie with Clint Eastwood playing the role of the preacher, you can be sure he’s more prone towards solving that town’s problems with violence than your stereotypical man of the cloth. Of all the gun-toting ‘shoot-first-and-ask-them-if-they’re-feeling-lucky-later’ characters that Clint Eastwood has ever played, the Preacher stands out as unique because he defies the usual character profile of your average travelling preacher.

3- Me and My “Thing”

I don’t want to rabbit on about Things too much, since I’ve already blogged about it before, but some characters stand out as unique because of a particular Thing they have with them which serves as a kind of trademark. As I mentioned in the previous post, there are many books, films and TV shows out there which include time travellers who use time machines to travel back and forth through eternity, but only the Doctor from Doctor Who travels through time in a British police box. And so, the Doctor is instantly recognisable by the TARDIS (as it is called), which is his Thing. In fact, the Doctor is a prime example of the power of a Thing, because that character often changes both his physical appearance and personality (we’re currently on our thirteenth incarnation of the Doctor, assuming we count the War Doctor) and yet he is always recognisable as the Doctor so long as he is travelling through time and space in a police box shaped TARDIS. If he ever permanently ditches the TARDIS for a time machine shaped like anything else, he won’t be the Doctor anymore.

The one thing you do need to be careful of is that your character’s Thing doesn’t turn out to be nothing more than a cheap gimmick which adds nothing to the story. Remember, everything must help the story to progress. The TARDIS works just fine as a Thing, because it also serves a more primary function – as the Doctor’s only means to travelling from time to time. It doesn’t just add a distinctive trademark to the Doctor’s character; it also plays a vital role in making the story work.